COREOFONIE - #LESACRE

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Choreography: Raphael Bianco

Choreography assistant and choreologist: Elena Rolla

Sound concept: Gianluca Verlingieri, Simone Conforti

Musical technical and artistic realization: Cristina Mercuri, Simone Giordano

Maitre de Ballet: Vincenzo Galano

Dancers: Jon Aizpun, Vincenzo Criniti, Chiara D'Angelo, Francesco Morriello

Production: Egri Foundation for Dance

With the support of: MIC - Ministry of Culture, Piedmont Region, CRT Foundation, TAP - Turin - No Performing Arts

In collaboration with:METS- electronic music department Ghedini Conservatory of Cuneo,Festival di Mirabilia

synopsis

Artistic concept designed for interaction with Eliasson's work for the "E LUCE FU" exhibition in Cuneo, adaptable to other spaces and light interactions, interactive paths.

The moving rings of light in the work The sunhas no money by OlafurEliasson, set up in the apse of the Monumental Complex of S. Francesco in Cuneo, are captured in real time by a motion tracking system programmed by METS which, reacting to particular configurations of plays of light, activates the diffusion in the exhibition space of electronic sound fragments by the students of the METS two-year period, built starting from as many short extracts from Stravinsky's Sagra della Primavera.

These impromptu musical episodes, immersed in a background sound environment, in turn arouse a reaction in the dancers of the Egribiancodanza company, who associate them with different choreographic gestures often unpredictable in their sequence and direction.

The idea of the EgriBiancoDanza Company is to recover repertoire material from Raphael Bianco's version of Le Sacre. A fragmentation of the existing vocabulary, reworked in the economy of materials and essence of the dramaturgy of the reference choreography.

METS' idea of temporarily "expanding" installations and contemporary works of art through the experimental sound dimension finds full realization in this concept, also thanks to the fundamental contribution of the dance action: the rings of light in fact become metaphorical rings of a creative chain that generates sound from light and dance from sound.

The musical reference to Stravinskij's most important ballet also constitutes a further link, which allows both to "close the circle" with regard to the use of dance as the point of arrival of the process of chain interactions, and to ideally link the work of Eliasson to another exhibited in the exhibition: Feu d'artifice by Giacomo Balla, also characterized by a structural sound presence of a Russian Stravinsky ballet.

After the debut, the performance was rearranged at the Reggia di Venaria in an itinerant route in the birch grove of Penone where the randomness of the audience's route determined the order of the musical score and consequently also of the dramaturgical cut. The public therefore finds itself actively participating in this reinterpretation of the Festival, where a new perspective emerges of the fi-gure of the Chosen One, a leading contemporary female figure, who re-enacts the dynamics between the chosen one and the community. Between masculine and feminine, and also proposes a testimony of the relationship between community and "sacrifice" or in any case violence against women.

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